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Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Charlene Lydon, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, kicking off our Summer of ’99 season, Toby Kaye’s American History X.

1999 was a great year for movies, with a host of massively successful (and cult) hits that would define cinema for a next generation: The Matrix, The Blair Witch Project, The Best Man, Cruel Intentions, Fight Club. The Summer of ’99 season offers a trip through the year in film on the IMDb‘s 250.

Danny Vinyard finds himself called to the principal’s office after submitting a salacious and controversial essay citing Adolf Hitler as a civil rights hero. There, the school principal Doctor Sweeney sets Derek another assignment: a personally essay exploring his relationship with his white supremacist brother Derek. Derek Vinyard was just released from prison that morning, and is about to discover that putting his life back together will not be as easy as he might have hoped.

At time of recording, it was ranked 34th on the Internet Movie Database‘s list of the best movies of all-time.

Maybe we don’t all become our parents, but we do live in their shadows.

The second season of Luke Cage engages with the idea of parents and children as a consistent thematic arc across the length and breadth of the season. In Soul Brother #1, Luke is thrown off his game by the arrival of his long-absent father in Harlem, seeking to reconnect. In Straighten It Out, Mariah is informed that one of better chances at going legitimate would be to cultivate a relationship with her own long-estranged daughter. From his introduction, even before his story is articulated in On and On, Jon McIver is clearly seeking justice for his parents.

This is not something that the second season conjures out of thin air. The first season had also hinted at generational tension. The battle between Luke Cage and Willis Stryker in the second half of the first season was largely fought in the shadow of the as-yet-unseen Reverend James Lucas, with Luke even taking Claire home to Georgia in Take It Personal to provide a sense of his history and back story. Similarly, both Cornell and Mariah wrestled with the obligations and the wounds that the Stokes family had inflicted upon them, seen in flashback in Manifest.

However, as all successful sequels and follow-ups tend to do, the second season of Luke Cage works from those small kernels and develops them into a strong central thematic arc for the various characters. Reverend James Lucas actually appears, force Luke to work through his anger and his rage towards his emotionally distant father. Similarly, Mariah is forced by political necessity to reach out to the daughter who has largely been absent from her life, which serves as a catalyst for confronting all of these deep-set issues.

This parental anxiety simmers through the season in interesting ways. The Jamaican restaurant that serves as Bushmaster’s base of operations is called “Gwen’s”, implicitly named for his long-deceased mother and a reminder of what motivates him. At the climax of On and On, the story of the loss of Bushmaster’s mother is cut against Luke remembering the last time that he saw his own mother. Similarly, Tilda’s store is named “Mother’s Touch.” In For Pete’s Sake, she assures Reverend Lucas that she meant “Mother Nature’s Touch”, but it seems a telling choice.

The second season of Luke Cage is all about family. Those that are there, and those that are not.